Father Ruffian at City Lit Theater

Chicago Reader - Somewhat Recommended

"...But Father Ruffian, adapted and directed by Paul Edwards for City Lit Theater, feels long. The quality of the performances varies widely, from barely passable to finely nuanced (Edward Kuffert's Falstaff is particularly fascinating), and much of Shakespeare’s fire is snuffed out by poor diction. The production does have its moments—in particular, the fight scenes, choreographed by David Yandorf—but not enough of them to make us care about the iconic fat man or his rebellious mentee, Prince Hal."

Stage and Cinema - Not Recommended

"...But, as director, Edwards delivers underwhelming results. Seemingly subtle dialogue is ear-splittingly declaimed, maddeningly bellowed with an equal emphasis on everything. (Even in passion choices must be made.) The worst offender is Nick Bonges' steadily shrieking, ever-growling Hotspur, though Molly Lyons' potentially eloquent Worcester also blows too hard. Perversely, Mark Pracht's Henry IV effaces himself, swallowing lines to underplay the guilt-ridden father. The one player to get the dynamics right is Nick Lake's "Hal": He never loses the future Henry V in the bad boy roisterer."

ChicagoCritic - Not Recommended

"...Only Nick Lake as Hal delivered the future king with terrific zest, smart presence as we witness him moving from a young party animal under Falstaff’s influence to the mature leader that his father always dreamed of. But Nick Lake’s work wasn’t enough to save this noisy production."

NewCity Chicago - Not Recommended

"...For the most part, the show is nothing more than a condensed “Henry IV.” The climactic battle with Hotspur happens midway through Act Two and then we are given a greatest-hits version of Part Two and Falstaff’s death in “Henry V,” all within about thirty to forty-five minutes. It is a production of “Henry IV” that manages to throw in modern touches—iPhones, laptops, the Salvation Army, satellite maps—without ever having any modern observations to go with them. The show has one foot in the past, one in the present, and neither on solid ground."